Heavy metal legends Metallica are still going strong well into the autumn of their career. Jay Kirby examines whether their latest release can match up with the heights of their heyday.
Metallica are a band who need no introduction: from the brutal thrash of the 80s to the hard rock of the 90s and onwards through superstardom, the group have always been revered as the fathers of modern metal and figureheads of the genre. How surprising it is then to hear something so introspective and intimate on their newest LP 72 Seasons, with frontman James Hetfield stating in an interview that "I need to fix all the [stuff] that was wrong when I was a kid."
The opening title track perfectly sets the tone for the rest of this album with its blazing fast riffs taking us all the way back to the Kill ‘Em All days of 1983. From James’ down-picked rhythm parts to Lars’ signature drum grooves, the track provides a pleasing hit of nostalgia for any fans of the band and carves out the blueprint for eleven other songs to come: the group aren’t reinventing the wheel here, but are rather taking a much-deserved look back at their discography and influences. From the old-school thrash of lead single Lux Æterna to the bluesy-stylings of Crown of Barbed Wire to the more modern sound of Shadows Follow, metal fanatics everywhere should be able to find something to love. That’s not say, however, that Metallica are resting on their laurels with this one: though the songwriting is nostalgic, James and Lars provide just enough originality to keep you engaged. The standout in this regard would have be to the album’s closer Inamorata - the longest track the band have ever put on a studio album - which reads as if Black Sabbath covered My Friend of Misery and then cranked it up to 11. Alternatively, Too Far Gone? flaunts some punk elements throughout, creating a sound the group have never really explored before.
"James Hetfield's voice sounds better than it has any right to at the age of 59... and his down-picking has yet to give in its ferocity and accuracy."
What really breathes life into this LP, however, are the signature performances from some of the most iconic musicians in metal. James’ voice sounds better than it has any right to at the age of 59 as he sings about his own childhood and the resulting loss of innocence, and his down-picking has yet to give in its ferocity and accuracy. The standout of this album, however surprisingly, is Rob Trujillo, who’s bass lines consistently create the backbone upon which the rest of the band sits— his more prominent moments, such as the intro to Sleepwalk My Life Away, are welcome inclusions. It’s a good thing his playing is so supportive though, because Lars’ drumming continues to underwhelm for a musician of his calibre. While his fills and beat accents never particularly harm the listening experience, they also never elevate it, and one can’t help but wonder how energetic the LP might have sounded with a more enthusiastic player on the kit. In a similar vein, Kirk Hammett’s lead performances range from passable to shockingly amateurish on this release, with his attempts at pentatonic shredding being severely undercut by a lack of direction and proper technique in his solos.
Despite some issues though, 72 Seasons is fitting and deserving of joining the Metallica discography, competing with 2016’s Hardwired to Self-Destruct as the best output from the band since 1991’s self-titled album. While not every track on here hits particularly hard— the slow chugging on You Must Burn! and the mind-numbing repetition of If Darkness Had a Son being the worst blemishes— everyone from the most diehard thrash fans to younger audiences joining from Stranger Things are bound to enjoy songs like Room of Mirrors, Shadows Follow and Chasing Light. If this is Metallica’s last album, it will have been a good one to go out on.
Edited by: Ali Glen
Image courtesy of Metallica's Instagram. Video courtesy of Metallica on YouTube
Comments